波蘭館：天堂之患

策展人：PROLOG +1

1 展館內(nèi)景/Interior view of pavilion

波蘭鄉(xiāng)村是社會主義和資本主義時期諸多問題、希望和矛盾凸顯的地方。傳統(tǒng)與進步的概念在此不易察覺，激進的改革迎來了熱情，也遭到了抵御。第17屆威尼斯國際建筑雙年展波蘭館中的這個展覽以及同名書《天堂之患》將鄉(xiāng)村作為單獨的研究對象，并將其視為國家有計劃的社會、空間和政治試驗的一種產(chǎn)物。以波蘭這個鄉(xiāng)村占國土面積93%的國家為案例研究，對于理解后社會主義時期歐洲大環(huán)境的特定性是十分必要的。這使我們能夠開展關于各種全球性問題的討論。除了波蘭鄉(xiāng)村現(xiàn)象的規(guī)模之外，與之相關的各種問題仍不是建筑話語的主流。這些地區(qū)的邊緣化在1990年代政治、經(jīng)濟和社會變革期間愈演愈烈，并在簡化和僵化的視角下加劇了對它們的認知，或是徹底將它們從集體意識的范疇中排除出去，使它們變成景觀中被忽視的要素。這個展覽則提出了一個新視角，重新定義了“何為鄉(xiāng)村”的認知，超越了浪漫的或技術的烏托邦的狹隘框架，并將鄉(xiāng)村解讀為一種抵抗殖民化的各種因素的斗爭空間，而非一種城市之外天真的田園風光。

在經(jīng)歷20世紀最后10年的政治轉型之后，我們可以看到波蘭人口從城市到鄉(xiāng)村地區(qū)的內(nèi)部流動——就像歐洲其他后社會主義國家那樣。這種逆世界潮流的趨勢不僅引發(fā)了關于其動機和期望的問題，而且最重要的是對我們所熟知的鄉(xiāng)村定義提出了質疑。氣候危機、后社會主義城市的退化、長期住房短缺、缺乏統(tǒng)一規(guī)劃戰(zhàn)略（導致空間混亂和社區(qū)割裂）等日益加劇的問題都需要一個整體的視角。就我們的理解來看，私有和公有地產(chǎn)的對立是危機的根源，而對一種共同體的探索是必要的替代之路。在這種對立中，鄉(xiāng)村看上去總是與城市需求互補的一種額外要素，并被定義為與之相對的因素，即一切非城市的東西。通過這種對立來思考鄉(xiāng)村似乎本身就是有問題的。本展覽的目的就是對這種狀況提出質疑，并使鄉(xiāng)村成為一個建筑研究領域的主題。理解鄉(xiāng)村現(xiàn)象的方法和手段是以一種對其地域、聚居和居住的分析為基礎的——這3種空間特性是本展覽創(chuàng)作者的興趣所在——并能夠在中歐的尺度上明確識別出各種問題。關于這3個方面的考慮結合了諸多問題，包括財產(chǎn)分配、土地所有權、空間規(guī)劃和共同的工作生活方式，并將其視為與地點無關的普遍因素。鄉(xiāng)村景觀受到資本因素的影響，在土地上勞作的居民數(shù)量在減少，而來自城市的定居者比例在增高。這就是為何我們要在鄉(xiāng)村尋找本屆雙年展的主旨“我們?nèi)绾喂餐?？”這一問題的答案。

2.展亭內(nèi)景/Interior view of pavilion

6個鄉(xiāng)村方案

為勾勒出鄉(xiāng)村地區(qū)的替代未來之路，并回答“我們?nèi)绾喂餐?？”的問題，我們邀請了來自比利時、德國、匈牙利、波蘭、俄羅斯和英國的6個設計團隊，希望他們在各自的作品中突破建筑實踐的界限。他們的任務是基于分析共同體視角下的地域、聚居和居住3種空間性的策展概念，提出構想性的方案。這些項目構成了以地方和全球方式定義“何為鄉(xiāng)村”的多元表達。

每個團隊都從一個這樣的地區(qū)出發(fā)?？鐚W科的匈牙利項目組GUBAHáMORI + Filip + László Demeter和比利時團隊Traumnovelle嘗試探索鄉(xiāng)村地區(qū)的新定義。日常研究鄉(xiāng)村問題的德國工作室Atelier Fanelsa與俄羅斯團隊KOSMOS通過虛擬合作，著手探討鄉(xiāng)村聚居地的共同因素。關注地域性的英國鄉(xiāng)村建筑事務所，與認為圖畫、橫剖面、文字和建筑都是相同的建筑手段的波蘭建筑季刊RZUT團隊，研究了鄉(xiāng)村人居空間諸多變化帶來的影響。

從策展人的角度看，鄉(xiāng)村是上文提到的3個方面，即我們所謂的“水平性”之間共同聯(lián)系和直接相互作用的產(chǎn)物。這些項目的目的是通過從一個給定方面的研究到其他的各項研究來推導結論，從而呈現(xiàn)一個完整的局面。換言之，就是觀察一種空間性的變化對其他方面有何影響?！酰ㄉ袝x 譯）

3 展亭內(nèi)景/Interior view of pavilion

4 展館內(nèi)景/Interior view of pavilion

The Polish countryside is a place where the problems, hopes and paradoxes of the socialist and capitalist periods become clear; the notions of tradition and progress are not easy to discern here, and radical reforms have met with both enthusiasm and resistance. This exhibition in the Polish Pavilion at the 17th International Architecture Exhibition in Venice, together with the book Trouble in Paradise, treats the countryside as an independent object of research. It sees it as a product of planned social, spatial, and political experiments of the state. This case study of Poland - a country where 93% of the area is rural - is instrumental in understanding the specificity of the context of post-socialist Europe that allows us to talk about global problems. Despite the scale of the phenomenon that is the Polish countryside, the issues related to it remain outside the mainstream of architectural discourse. The marginalisation of these areas intensified during the political, economic, and social transformation of the 1990s and consolidated their perception through the prism of simplifications and stereotypes, or simply excluded them from the sphere of collective consciousness, transforming them into an invisible element of the landscape. This project presents a new perspective, redefines the understanding of what is rural, going beyond the narrow framework of a romantic or technological utopia, and reads the countryside as a space of struggle and resistance against the forces colonising it, and not as an innocent, idyllic landscape outside the city.

After the political transformation of the last decade of the 20th century, we can observe an internal migration of people from urban to rural areas in Poland, as in other post-socialist countries of Europe. This trend, opposite to the global one, not only opens up the issue of motivations and expectations, but above all it puts into question the definition of the countryside as we know it. The growing problems of climate crises, regressing post-socialist cities, permanent housing deficit, lack of a coherent planning strategy (resulting in spatial chaos and isolation of communities) require a holistic view. In our understanding, the dichotomy of private and public property is the source of the crisis and the search for a commons is a necessary alternative. Moreover, considering the countryside through a dichotomy, in which it always appears as an additional element supplementing the city's needs and was defined in opposition to it - as everything that the city is not - seems problematic in itself. The aim of the project is to question this state of affairs and to give subjectivity to the countryside as an area of architectural research. The method and tools for understanding the phenomenon of the countryside are based on an analysis of its territory, settlement, and dwelling - the three spatialities of interest of the authors of the project - and make it possible to clearly identify problems on a central European scale. These three areas are considered in relation to the issues of sharing of goods, land ownership, spatial planning and ways of working and living together as universal aspects independent of the location. The rural landscape is subject to the forces of capital, the number of inhabitants working on the land is decreasing, and the percentage of settlers from cities is increasing. That is why it is in the countryside that we are looking for the answer to the question of "how will we live together?", which is the motto of this Biennale.

Six Projects for the Countryside

To outline a vision of an alternative future for rural areas, answering the question of "how will we live together?", we have invited six design teams from Belgium, Germany, Hungary, Poland, Russia, and United Kingdom, who try to push the limits of architectural practice in their work. Their task was to present speculative scenarios, based on the curatorial concept of analysing three spatialities - territory, settlement, and dwelling - understood from the perspective of the commons. These projects form a diverse statement on local and global ways of defining what is rural.

5 6個鄉(xiāng)村方案的模型和圖像/Models and Images of the Six Proposals a-Gubahamorib-TRAUMNOVELLEc-Atelier Fanelsad-KOSMOSe-Rural Office for Architecture f-RZUT

Each team started from one of these areas. The interdisciplinary Hungarian project group GUBAHáMORI + Filip + László Demeter and the Belgian collective Traumnovelle took up the search for a new definition of rural territory. The German Atelier Fanelsa, which deals with rural issues on a daily basis, and the Russian group KOSMOS, collaborating virtually, began with the exploration of what is communal for a rural settlement. The British Rural Office for Architecture, interested in regionalism, and the team of the Polish architectural quarterly RZUT, which considers drawing, crosssection, text and building to be equivalent tools of architecture, studied the consequences of changes in the domesticated space in the countryside.

From the curator's point of view, the countryside is the result of mutual connections and direct interactions between the three mentioned areas, which we call horizontality. The objective of these projects was to create a complete picture by extrapolating conclusions from research in one given area to the others. In other words, to see how changes in one of the spatialities affect the others. □

6.7 展覽布置/Exhibition installations

項目信息/Credits and Data

委托方/Commissioner: Hanna Wróblewska/Zach?ta - National Gallery of Art

策展人/Curators: PROLOG +1 (Mirabela Jurczenko, Bartosz Kowal, Wojciech Mazan, Bartlomiej Poteralski, Rafal Sliwa and Robert Witczak)

參展方/Exhibitors:

建筑事務所/Architectural Studios: Atelier Fanelsa, GUBAHáMORI + Filip + László Demeter, KOSMOS Architects, Rural Office for Architecture, RZUT, Traumnovelle

“波蘭鄉(xiāng)村全景圖”作者/Authors of the Panorama of the Polish Countryside: Jan Domicz, Michal Sierakowski, Pawel Starzec, PROLOG +1

線上術語匯編作者/Authors of the Glossary (online): Michal Sierakowski, Pawel Starzec, Wiktoria Wojciechowska, Patrycja Wojtas, PROLOG +1

設計團隊/Design Team: Kuba Maria Mazurkiewicz (zespól wespól)

攝影/Photos: Jacopo Salvi